Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition); as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits; maps; sketches etc We have endeavoured to keep the quality of these images; so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts; we feel they deserve to be made available for future generations to enjoy.
2014-08-13 2014-08-13File Name: B00MPIWDHI
Review
22 of 22 people found the following review helpful. Behind the scenes...By Jill MeyerPhilip Mould takes a wonderfully interesting look at how art restoration works. But; in looking at restoration of existing paintings; he also delves into how he; as a gallery owner; along with his team; find work that has remained under-valued or unvalued for centuries. And then how that piece; now restored by Moulds experts; ventures back into the art world in renewed glory.Mould; an appraiser for the BBCs "Antique Roadshow"; is also an owner of a gallery in London which specialises in antique portraits. As an aside; I have visited the gallery in the past to see his collection but did not know that this book was written by the gallerys owner until I read the credits. As a book reviewer; I have no reason to falsely rave about his book; even though I have enjoyed visiting his gallery. I suppose that being a fan of antique portraits gave me the impetus to read and review the book; however.Mould takes five or so examples of "found" paintings - one from his "Antique Roadshow" - and writes how instinct and education about a painter; his other work; the paintings subjects history; and other "intangables go into Mould and his staff taking on an often dirty and undistinguished painting on the chance that the painting is "the real thing" - a real Rembrandt; a real Homer Winslow; etc. Probably the most interesting story was that of a Norman Rockwell painting on display at the Rockwell Museum in Massachusetts that...wasnt. Wasnt the "real" Rockwell painting; but rather one done by a disciple of Rockwell; who copied the original for reasons sort of murky; and donated to the museum. The "real" Rockwell was found by the copiers sons after his death and turned over to the museum.The other examples Mould cites are almost as interesting. Each is a story in-and-of-itself; and most end conclusively. The last painting in the book; that of a Winslow Homer; "found" in Ireland of all places; hasbeen the subject of ownership dispute which have not been worked out yet.Moulds book is a wonderful read for those interested in art history and in art restoration. Some of the paintings found did not need massive restoration but a few did and Mould recounts the intricacies of physical restoration. Not a long book; Mould makes the most of his subject with descriptions and interviews with his fellow art historians and sellers.0 of 0 people found the following review helpful. Fascinating; entertaining; and insightfulBy B. J. Fordldquo;The Art Detectiverdquo; by Philip Mould is a fascinating; entertaining; insightful look into the world of art galleries; discovery; restoration; dealing; collecting; and; to some extent; the creative process. Each of the six chapters is a well-written account focusing on the authorrsquo;s own adventure involving the discovery of an important work of art: a hoard of old British portraits in Vermont; a Gainsborough; a Norman Rockwell; a Rembrandt; a portrait of Queen Elizabeth I (and another of Henry VIIIrsquo;s brother; Arthur); and a Winslow Homer watercolor. Without revealing ldquo;spoilersrdquo;; the text covers the business aspects of dealing in masterpieces far beyond a purely financial perspective: it also addresses the issues of fakes and forgeries; theft; auctions; and the personalities and relationships of collectors; dealers; historians; art subjects; and artists themselves. Mr. Mould recognizes; ldquo;Great artists are also risk takers; they constantly push the boundaries of illusion; like ambitious magiciansrdquo; (page 61). The text is greatly enhanced by two sections of carefully chosen and well-reproduced photographs -- about 35 pictures in all ndash; that really bring the very visual subject of this book to life. The index is also helpful. As usual; Irsquo;m pointing out a few (specifically five; primarily typographical / grammatical) things that could be ldquo;correctedrdquo; in future editions: Page 86: In a sentence that reads; ldquo;An intern at the auction house; despite been given a faxhellip;rdquo;; maybe ldquo;beenrdquo; should be changed to ldquo;beingrdquo;? This could just be a difference in American / British English usagehellip;After all; it is said that Britain and America are ldquo;two nations divided by a common languagerdquo;. Page 109: For readability; the first sentence of the paragraph beginning with ldquo;When Rockwell arrived here in 1939rdquo; could have its punctuation modified: maybe move the closing dash after the italicized ldquo;Saturday Evening Postrdquo;; and change the current closing dash to a colon. Page 165: A sentence that recounts dialogue by Ernst van de Wetering begins with; ldquo;But during the forty years of my life between 1948 and 1998rdquo;; it seems ldquo;fortyrdquo; should be changed to ldquo;fiftyrdquo; (or either change 1948 to 1958; OR 1998 to 1988). Pages 194 / 195: Discussion of a portrait being offered by Sothebyrsquo;s with an estimate of between pound;700;000 and pound;1 million (as noted on page 196); is prefaced by Mr. Mouldrsquo;s recollection of having seen the same painting two years earlier for sale by Christiersquo;s South Kensington; which he seems to have purchased and re-sold; on page 194 the Christiersquo;s estimate is stated as pound;6;000 to pound;8;000; but on page 195 the author expresses being ldquo;very pleased when it was knocked down to me for pound;43;000rdquo;. Maybe Irsquo;m just confused; but there may be a misplaced comma or decimal point in there somewherehellip;. Page 207: In a sentence that begins with ldquo;Henry VIII was briefly succeed by his son;rdquo; it seems as if ldquo;succeedrdquo; should perhaps be changed to ldquo;succeededrdquo;. Anyway; I highly recommend this thoroughly enjoyable book written by someone who clearly loves his work. His enthusiasm is communicated in a way that makes for riveting reading.0 of 0 people found the following review helpful. art history presented as mysteryBy John E. DruryPhilip Mould; one of the engaging intrepid experts on Antique Roadshow UK; gives the reader a short; intriguing book of art restoration and art re-discovery centered on his own experiences as a London based art dealer of English portraits. His six stories deal with Thomas Gainsborough; Rembrandt; Winslow Homer; a suspect portrait of Elizabeth I; his encounter with an eccentric New England collector/hoarder and a questionable painting by Norman Rockwell. Charged with the excitement of the chase; Mould; a mystery writer at heart; builds the stories on biographical insight; pace; his own expertise; his contacts in the art world; occasionally using the argot of the antiques world (dendrochronology); his extensive English lexicon (hoick; tronie; boffin; etc.) and the inclusion of superb color photographs of the paintings he writes about. I enjoyed every page of this wonderful book.
